Movies

In the wake of a school shooting, a mother reckons with her neighbors in ‘Eric LaRue’

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In the face of America’s relentless surge of school shootings, a continuous flow of movies has emerged, each responding to this persistent tragedy in different ways. Some focus on survivors, others on the perpetrators, and some on the parents – and their approaches have been diverse, offering catharsis, hope, or understanding as possible outcomes. Yet, it seems fitting that the latest addition to this disheartening genre is a film devoid of any promise of relief, optimism, or enlightenment, given that these shootings persist.

As a passionate movie enthusiast, I’d like to share my thoughts on “Eric LaRue,” a film that resonates deeply with its intense, heartfelt tone, a testament to the directorial debut of Michael Shannon, an Oscar-nominated actor known for his powerful performances. The title itself is drawn from the name of a troubled teenager who, in a moment of despair, took the tragic decision to fatally shoot three of his schoolmates, leaving an indelible mark on a small town and shattering the lives of both the victims’ and the shooter’s parents specifically, and the community in general.

In the movie, Shannon, who doesn’t play an acting role, concentrates on one character: Eric’s mom, Janice (portrayed by Judy Greer). Since the murders, she’s been living in a haze, unsure of how to behave and how to feel. It speaks volumes about Shannon’s directing skills that he immerses us deeply into Janice’s overwhelming emotional confusion, even though this bold approach unfortunately leads to the film’s downfall.

In a subtle portrayal, Greer portrays a character who yearns for solitude. Puffing on one cigarette after another or staring blankly at the television, her face mirrors weariness and melancholy, as she strives to rebuild her life. Notably, the movie doesn’t disclose exactly when the tragic incident occurred. All we are informed is that the trial is over, Eric is in prison, and he’s been there long enough that her inept, uneasy pastor Steve (Paul Sparks) is taken aback by her absence from visiting him. “Eric LaRue” provides minimal insights into Eric’s past – we learn he wasn’t well-liked – but unlike the introspective drama “We Need to Talk About Kevin,” understanding Eric’s motives isn’t the focus. Eric committed the murders and was sent away. Now, all Janice can do is ponder what lies ahead.

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Movies like “Elephant,” “Mass,” and “The Fallout” explore the wave of shock, sadness, and terror that spreads through communities after a school shooting. Unlike these films, however, “Eric LaRue” approaches the topic with a stiff, somber tone, underscored by Jonathan Mastro’s melancholic score. This film refrains from using emotional drama or easy psychological resolutions to make sense of senseless events. Instead, it questions society’s (and perhaps even Hollywood’s) compulsion to find meaning in the seemingly meaningless. While those around Janice are trying to cope with the aftermath, she remains detached and unwilling to engage. However, she finds herself uncertain about what she truly desires.

Eric’s actions have caused a significant rift between Janice and her husband, Ron (Alexander Skarsgård). Both characters are religious, but following the shooting, Ron has distanced himself from Steve’s Presbyterian church. He finds solace in Bill (Tracy Letts), an influential and regressive pastor who provides Ron with comfort by emphasizing a Jesus who can alleviate his suffering. On the other hand, Janice, who is more reserved, is not as reliant on emotional support as Ron. She becomes less open, while he begins to repeat scriptural phrases with a fervent belief that they represent a lifeline for someone drowning in despair.

In the show “Eric LaRue,” while Greer demonstrates her comedic talents sparingly and subtly, particularly when Janice reacts to Ron’s philosophical ramblings, there’s a strong authenticity in Janice’s skepticism towards religious comforting. As she observes Ron finding peace in Bill’s nonsense, we detect undertones of envy: He can rest easy at night, unlike her.

A monotonous atmosphere envelops Janice, gradually pushing her towards insanity. For instance, at the store where she works, an uninspiring motivational poster adorns her manager’s office wall with the phrase “Stick to change! Change to stick!” – a sentiment that seems more hollow than helpful. Similarly, Shannon is dismayed by Steve’s awkward efforts to arrange a meeting between Janice and the families of victims, aiming for healing but offering little authentic support to those caught in the turmoil following the tragedy.

In simpler terms, “Eric LaRue” portrays a situation where Eric LaRue’s quiet moments carry significant impact. Janice is advised not to return to work due to its effect on employee morale, but her colleagues seem unfazed by her presence, even though she works with Alison Pill’s character Lisa, who is the flirty HR director and a follower of someone named Bill. This subtle sexism is prevalent throughout the series as Janice, grieving and unsure about how to act, finds herself in a metaphorical trap because she doesn’t conform to unspoken rules about grief. Janice, who is withdrawn and bitter, is subjected to attempts by others to ‘fix’ her. However, with such deep emotional wounds, it’s hard for her to understand what ‘fixing herself’ would even entail.

In a different phrasing: Jeff Nichols, a longtime associate of Shannon, takes on the role of executive producer, while “Eric LaRue” mirrors Nichols’ focus on overlooked aspects of American life, particularly the complex relationship between faith and firearms. However, the film falls short of Nichols’ nuanced portrayal of ordinary life. Despite its careful approach, “Eric LaRue” tends to be overly serious, resulting in a flat characterization of Janice instead of capturing her turmoil of emotions. Some supporting performances, such as Sparks’ Steve and Skarsgård’s Ron, are underdeveloped, with Steve appearing excessively inept as a spiritual mentor and Ron portrayed as an overly caricatured depiction of religious devotion.

Initially, the movie seems to stumble with some missteps, but then a subtly powerful scene emerges, hinting at the deep character exploration beneath. The character of Janice, portrayed by the captivating Nation Sage Henrikson, is her son’s visitor. The film’s conclusion should be kept secret, but “Eric LaRue” leaves viewers uncertain about their feelings towards this mother and child. Future films addressing school shootings are inevitable, and while “Shannon” refrains from offering simple answers, his thoughtfully constructed dead end feels inadequate in its complexity.

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2025-04-05 00:31

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